Review: "Der Say Ah" has long been a banger on dance floors tuned into international sounds. It's the sort of bouncy afrobeat and sax-laced classic that has been fetching huge amounts online. DJs like Gilles Peterson and Nightmare on Wax have been playing it for yonks and now, after many years of it being out of print, it is back courtesy of Push The Fader. The Akoya Re-Rub mix here was mixed by Ben Kane who worked on D'Angelo's Black Messiah, so this sounds beyond good. The 7" version comes from DJ Spinna with extra keys from Ticklah, psyched out bass and extra dub feelings.
Review: Eliphino continues to explore his emotionally charged, modern sound with this new mini LP for Secretsundaze. Following the trend laid out by his previous turns on Hypercolour, The Love Below and Meda Fury, he unfurls a richly harmonic sound that places emphasis on melodic progression to tell a particularly personal story, ranging from the emotive "Studio Time" to the crooked break-flecked "Old Lemons". "Second Sunday" flirts with electro and "Breaking Up Is Hard" veers towards jungle, but throughout Eliphino's personality binds the record together in fine style. Thoroughly contemporary and unbounded by genre restrictions, this is the sound of someone making the record they want to make.
Review: Kamaal Williams has described The Return, his now reissued debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.